add to cart
add to wantlist
email a friend
 
PRICE:
$35.50
PREORDER
Ships When IN STOCK.
01. Eduardo Mateo - Cuerpo y Alma
02. Eduardo Mateo - Nombre de bienes
03. Eduardo Mateo - María
04. Eduardo Mateo - El son oro scope
05. Eduardo Mateo - Carlitos
06. Eduardo Mateo - El tungue le
07. Eduardo Mateo - Lo dedo negro
08. Eduardo Mateo - El boliche
09. Eduardo Mateo - Si vieras
10. Eduardo Mateo - Un canto para Iemanjá
11. Eduardo Mateo - La casa grande
12. Eduardo Mateo - El arriero
ARTIST
TITLE
Cuerpo Y Alma: 40th Anniversary Release
FORMAT
LP

LABEL
CATALOG #
LBR 006-2LP LBR 006-2LP
GENRE
RELEASE DATE
1/10/2025

This is a special edition of the 40th Anniversary of Cuerpo y Alma by Eduardo Mateo, in 180 -gram vinyl with obi, new cover artwork and insert. Cuerpo y Alma was his second record as a soloist, originally released by Sondor in 1984. Recorded between 1981 and 1984 with Hugo Fattoruso, Osvaldo Fattoruso, Pippo Spera, Urbano Moraes, Travesia, and more. In this record Mateo also experienced with percussion trying to get closer to a Hindú Percussion. Eduardo Mateo is one of the most important influences in the history of the Uruguayan Music. Mixing beat, jazz, Bossa Nova, and candombe. He was the one who created the "Candombe-Beat" mostly known as "Fusión." He also was a member and inspired the legendary band El Kinto. Mateo was a versatile and constantly evolving musician. If there is a record, however, that can be seen as the condensation of all his work, it is Cuerpo y Alma. Here are examples of his disconcerting simplicity, his most radical experimentalism, his mystical vein, of his explorations with Eastern, African and Caribbean music, their different approaches to the candombe, his tenderness and his frilly climates, his childish surreal humor, of abstractions and permutations of what would be his phase "Time Machine." Mateo took care again of all the instruments in most of the grooves and built in them these minimum-constructivist arrangements in the manner of El Kinto. But there are also collective grooves with a more spontaneous and improvisational approach, interacting with some old friends (Urbano, Pippo, the Fattoruso, Eduardo Marquez) and new colleagues with whom he interacted in the following years (Travesía, Walter "Nego" Haedo).